1. Video Composition Media Concepts The Spill Resource Page

2. Video Composition Composition has many different, though related meanings. In video, composition is the purposeful arrangement of the components of a visual image. Composition has many different, though related meanings. In video, composition is the purposeful arrangement of the components of a visual image. Composition is absolutely essential in video because it helps images communicate with viewers more quickly, efficiently, and powerfully. Composition is absolutely essential in video because it helps images communicate with viewers more quickly, efficiently, and powerfully. Composition does this by: Composition does this by: Organizing pictorial elements so that viewers can quickly sort them out and identify them.Organizing pictorial elements so that viewers can quickly sort them out and identify them. Adding emphasis to direct attention to the most important elements on the screen.Adding emphasis to direct attention to the most important elements on the screen. Creating an illusory third dimension in a two dimensional pictureCreating an illusory third dimension in a two dimensional picture The Spill Resource Page

3. Organization in Composition Composition organizes the elements within an image, to help viewers decode it. Figure 5-1. Composition organizes the elements within an image, to help viewers decode it. Figure 5-1. Simplicity – eliminating unnecessary objects from the image, so that the viewer has fewer things to identify.Simplicity – eliminating unnecessary objects from the image, so that the viewer has fewer things to identify. Order – arranging objects in the image.Order – arranging objects in the image. Balance – distributing the objects in a way that gives about equal visual “weight” to each section of the image. Figure 5-2.Balance – distributing the objects in a way that gives about equal visual “weight” to each section of the image. Figure 5-2. The Spill Resource Page

4. Emphasis in Composition Emphasis is any technique that attracts the viewer’s attention to one part of a composition. Techniques include position, relationship, significance, and contrast. Emphasis is any technique that attracts the viewer’s attention to one part of a composition. Techniques include position, relationship, significance, and contrast. Position – the upper left quadrant attracts the eye first, because that is where we automatically look to start reading a new page of text. Figure 5-3.Position – the upper left quadrant attracts the eye first, because that is where we automatically look to start reading a new page of text. Figure 5-3. Relationship – emphasizing an element by placing it in relationship to other elements in the composition. Figure 5-4.Relationship – emphasizing an element by placing it in relationship to other elements in the composition. Figure 5-4. The Spill Resource Page

5. Emphasis in Composition Significance – Compositional elements that attract attention simply because of the significance to the audience. Figure 5-5.Significance – Compositional elements that attract attention simply because of the significance to the audience. Figure 5-5. Emphasis through Contrast – technique of emphasizing one element in a picture by making it look different from the other elements.Emphasis through Contrast – technique of emphasizing one element in a picture by making it look different from the other elements. Contrasting Size – Figure 5-6. Contrasting Size – Figure 5-6. Contrasting Shape – Figure 5-7. Contrasting Shape – Figure 5-7. Contrasting Brightness – Figure 5-8. Contrasting Brightness – Figure 5-8. Contrasting Color – Figure 5-9. Contrasting Color – Figure 5-9. Contrasting Focus – Figure 5-10. Contrasting Focus – Figure 5-10. The Spill Resource Page

6. Depth in Composition Depth-enhancing techniques play an important role in pictorial composition – Perspective. Depth-enhancing techniques play an important role in pictorial composition – Perspective. Perspective – a group of techniques used to suggest the presence of depth on a two- dimensional surface. Perspective – a group of techniques used to suggest the presence of depth on a two- dimensional surface. Size – the closer an object the larger it appears. Figure 5-11.Size – the closer an object the larger it appears. Figure 5-11. Overlap – One object will mask part of another if it is in front of it. An object that overlaps another is perceived to be closer. Figure 5-12.Overlap – One object will mask part of another if it is in front of it. An object that overlaps another is perceived to be closer. Figure 5-12. Convergence – parallel lines seem to gradually come to together as they recede into the distance. Figure 5-13.Convergence – parallel lines seem to gradually come to together as they recede into the distance. Figure 5-13. The Spill Resource Page

7. Depth in Composition Vertical Position – the father away objects are, the higher they usually appear in the field of view. Figure 5-14.Vertical Position – the father away objects are, the higher they usually appear in the field of view. Figure 5-14. Sharpness – The farther away objects are, the more indistinct they appear for two reasons. First, their fine details are smaller and harder to distinguish. Second, distant objects are softened by the amount of air between them and the viewer. Figure 5-15.Sharpness – The farther away objects are, the more indistinct they appear for two reasons. First, their fine details are smaller and harder to distinguish. Second, distant objects are softened by the amount of air between them and the viewer. Figure 5-15. Color Intensity – The same atmosphere that softens the appearance of objects also reduces the intensity of their colors. Figure 5-16.Color Intensity – The same atmosphere that softens the appearance of objects also reduces the intensity of their colors. Figure 5-16. The Spill Resource Page

8. Composing Video Images Compositional Schemes Compositional Schemes Asymmetrical Balance – visual elements are not equally opposed, but distributed less formally to give an overall impression of balance. Figures 5-17, 18, and 19.Asymmetrical Balance – visual elements are not equally opposed, but distributed less formally to give an overall impression of balance. Figures 5-17, 18, and 19. The rule of Thirds – Create compositions in which the important elements match lines and intersections on the grid. Figures 5-20, 21, and 22.The rule of Thirds – Create compositions in which the important elements match lines and intersections on the grid. Figures 5-20, 21, and 22. The Spill Resource Page

9. Composition for Widescreen Video Widescreen Advantages – works well whenever the image is strongly horizontal. This is usually the case with actions scenes and scenic panoramas. Figure 5-24. Widescreen Advantages – works well whenever the image is strongly horizontal. This is usually the case with actions scenes and scenic panoramas. Figure 5-24. Widescreen Disadvantages – Close- ups more difficult, difficult to display on traditional TV screens. Figures 5- 25, 26, and 27. Widescreen Disadvantages – Close- ups more difficult, difficult to display on traditional TV screens. Figures 5- 25, 26, and 27. The Spill Resource Page

10. Composing Widescreen Images Exploiting horizontals – Figure 5-28 and 29. Exploiting horizontals – Figure 5-28 and 29. Using Rule of Thirds – Figure 5-30. Using Rule of Thirds – Figure 5-30. Composing at the frame borders – Figure 5-31. Composing at the frame borders – Figure 5-31. Framing subjects – Close ups and Lead Room. Figure 5-32 and 33 Framing subjects – Close ups and Lead Room. Figure 5-32 and 33 The Spill Resource Page

11. Directing the Viewer’s Eye Placing the attention of the viewers where you want it. Placing the attention of the viewers where you want it. Emphasis can be added by adjusting position, relationship, significance, contrasting size, shape, brightness, color, and/or focus. Figure 5-35.Emphasis can be added by adjusting position, relationship, significance, contrasting size, shape, brightness, color, and/or focus. Figure 5-35. Leading Lines – simply point to a subject using one or more lines in the composition. Figure 5-36 and 37.Leading Lines – simply point to a subject using one or more lines in the composition. Figure 5-36 and 37. The Spill Resource Page

12. Controlling the Third Dimension Staging Depth - Figures 5-38 and 39 Staging Depth - Figures 5-38 and 39 Exploiting Perspective – Figures 5-40 and 41. Exploiting Perspective – Figures 5-40 and 41. Framing the image – Figures 5-42, 43, and 44. Framing the image – Figures 5-42, 43, and 44. Working on the picture plane – Figures 5-45 and 46. Working on the picture plane – Figures 5-45 and 46. The Spill Resource Page

13. Composition and Movement Professional-looking camera moves should be planned so that they both start and end with strong compositions. Professional-looking camera moves should be planned so that they both start and end with strong compositions. Panning and Tilting – Figures 5-47, 48, 49, and 50.Panning and Tilting – Figures 5-47, 48, 49, and 50. The moving camera – rehearse both ending and starting compositions, then make the move, adjusting camera angle and lens focal length setting as needed.The moving camera – rehearse both ending and starting compositions, then make the move, adjusting camera angle and lens focal length setting as needed. The Spill Resource Page